Transport: Lack of public transport, ie I used to visit the Royal Exchange in Manchester but the last train now leaves at 9.30pm. I visit the New Vic in Newcastle under Lyme but the last bus leaves at 22-45 which leaves me with a half hour wait at Hanley for the last bus home. When public transport and theatres are subsidized by the council why can't there be co ordination between them to ensure I can get home!

Is it incumbent upon theatres to ensure their audience are out in time to catch the last bus?

Psychological barriers: People who think ‘It’s not for me or my sort'. How do we break down the barriers to bring people in.

Suggestions: Find who the ‘non user’ groups are find out what they perceive the barriers are. Get them while they are young, taking theatre to children in schools has led to some of those children bringing their parents to the theatre.

Financial barriers. Would theatre for free work or would people not value something they haven't paid for. Would a pay what you can night be successful?

Theatre workers can make assumptions about why people don't visit theatre. Test the assumptions. Avoid getting stuck in a pattern of thinking so you fail to see what is there. New ideas don't come from old ways of thinking.

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We live now in information - it is our environment. An aspect of what we can do in response to current events is the information we have about what's actually going on. Perhaps if we can clean up the information environment we will make better decisions about what to do next.

We combined two discussions, one about what it was to navigate the world of theatre with a female body and the other about what it was to navigate that world with a working class voice. There are many parallels.

To get more diversity in our arts scene we will need to deal with the emotional undercurrents that are fueling our behaviour and impeding progress. What solutions do we have for addressing this? We did focus on what it means to be a woman who is doing this. What is below is not a prescription, rather a record of our discussion.

"How do we improve female working class visiblility in the arts?" was the question posed at the start of day.
As a female arts sector leader (Festival Director - therefore a programmer, fundraiser, commissioner, debater, network lead/contributor, ambassador, etc), I felt it was important to ask what people wanted or needed from me, as someone who has a voice -in certain spaces- to offer. I was trying to buck the assumption that I would already know what women wanted from their peers and lead

The use of co-productions between opera houses across different parts of the world is claimed to be a way to pool companies’ resources and save money. However, is a consequence of this practice that such productions are likely to communicate less effectively with the audience of any single theatre because they are trying to reach too many different audiences at the same time and because taste varies so greatly across the world?

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